Visuals?
As part of my visual design business, I regularly check in with clients as the season progresses. I’ll just drop a “Hey, how’s it going?” kind of email. This usually happens soon after their training camp, mid-season, and finally at the season’s conclusion (as a wrap-up). The response to my email varies depending upon the timing. It can be anywhere from, “The performers are working really hard and things are moving along” to “We had our first performance and everyone is very excited about our show!”. From time to time, I will get something like this, “We have all of the drill on the field with the music, but we haven’t had time to add any visuals”. My mind immediately goes to, VISUALS? I JUST SENT YOU ABOUT 7 MINUTES WORTH OF VISUALS.
What they are meaning is that they haven’t added any body visuals/choreography to embellish the design. Here is the challenge…There is only so much rehearsal time available to any ensemble and it is important the amount of material contained in the production match that total time available in such a way not only can the material be learned, but also repeated enough as to be refined into a high level of performance. Here is where instructors have to make hard choices. 1. Do we spend time learning all of the eventual material as we go? OR 2. Do we learn just what is necessary in order to get the bulk of the material out into the performance?
If possible, all of the “added” features of the production should be choreographed/designed from the very beginning of the process. If the music has been blocked/phrased during the visual design process, then any moments available for added body work are clearly identified. Why wait until the visual design has been taught, repeated, and performed to go back and add the visuals? Here’s why not?
Once a performer has adequately learned a sequence of coordinates (dots, drill sets, etc.), and fused the music together with that information that is now stored in their brain, it is MUCH more difficult to then add something new. Chances are, when something new is added, they will forget to execute the new because they have been imprinted by the repetitions they have done. It is much easier and takes less time to teach the whole right away than to add new choreography at a later date. I know, I’ve done it.
Here are a few strategies for instructors when it comes to embellishing through body visuals.
Make body visuals a part of your ensemble’s visual basic block training. If you know you want to use a particular type of lunge or stance, teach it as a basic at the beginning of training. Then you’re just plugging it into the production as it is being taught rather than the skill being leaned and added later. This way, the learning and mastery of the skill have already happened.
Consider the choreography being part of performing the music rather than the visual program. Teach the body visuals/choreography during the music learning process. Remember the point above about phrasing in the visual design? Use that phrasing early and often. The goal is for the performers to eventually arrive at a place where they CAN’T perform one (the music) without the other (the choreography/body visuals).
Train the ensemble to perform choreography/body visuals during music arc/circle time as this will help reinforce the material and add reps. It will multiply time.
Use technology such as YouTube where staff created videos can be used as an example and reference for performers. This will aid in their personal preparation outside of full ensemble rehearsals. Again, multiplying time.
Seek help from a choreographer or employ the staff working with your auxiliary to assist in training the ensemble’s musicians (wind and percussion players). This is vitally important if you as the instructor/director don’t feel comfortable performing this task. If you are like me, when I’m unsure about something I tend to put it off. Don’t wait.
Be sure any choreography/body visual is musical in nature and coordinates seamlessly with the music being performed. Congruency leads to Fluency.
In short, any material that is performed as part of the production at the end of the season should be decided upon before training begins. That’s how the embellishments become part of the performance and are effective.
Thanks for reading. If you enjoy this entry, check out my earlier topics and please share with a friend. I love to hear from readers, so feel free to leave a comment.—DB